Description:Early Music is a stimulating and richly illustrated journal that is unrivalled in its field. Founded in 1973, it remains the journal for anyone interested in early music and how it is being interpreted today. Contributions from scholars and performers of international standing explore every aspect of earlier musical repertoires, present vital new evidence for our understanding of the music of the past, and tackle controversial issues of performance practice. Each issue contains a wide range of thought-provoking articles on performance practice. New discoveries of musical sources, instruments, and documentation are regularly featured, and innovatory approaches to research and performance are explored, often in collections of themed articles.

The "moving wall" represents the time period between the last issue
available in JSTOR and the most recently published issue of a journal.
Moving walls are generally represented in years. In rare instances, a
publisher has elected to have a "zero" moving wall, so their current
issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year
moving wall, articles from the year 2002 are available.

Terms Related to the Moving Wall

Fixed walls: Journals with no new volumes being added to the archive.

Absorbed: Journals that are combined with another title.

Complete: Journals that are no longer published or that have been
combined with another title.

Abstract

The chain of reasoning in Bradley Lehman's article in Early music, xxxiii (2005), pp.3-23, 211-31, is full of weak links. The notion that Bach followed a mathematical rule when tuning is contrary to relevant documentary evidence that he did not go in for 'theoretical treatments' and that 'mathematizing would never have led to success in ensuring the execution of an unobjectionable temperament'. and that 'mathematizing would never have led to success in ensuring the execution of an unobjectiotnable temperament'. An expert and musicianly tuner would indeed temper alike the 5ths C-G-D-A-E, but would not feel obliged (as Lehman imagines) to temper some 5ths exactly twice as much as others. The premise that a mathematically rigid tuning-scheme is hidden cryptically in a decorative scroll on the title-page of WTC I is daft, and Lehman's belief that there is only one musically feasible way to interpret this alleged evidence is disproved by the existence of several other such ways besides his (which was based on miscreading a serif as a letter). Lehman misrepresents Sorge's account of a certain theoretical scheme from after Bach's death (which he regards as evidence applicable to Bach). No tuning-theorist close to Bach approved of tempering E-G# as much as Lehman does. Lehman's idea that Bach's secret tuning is uniquely beautiful for music by Frescobaldi et al. is outlandish. His one-size-fits-all approach obscures some relevant facts about church-organ tuning in those days. If Bach advised some organ builders about tuning, Zacharias Hildebrandt would be the most likely one, but the meaning of the statement by Bach's son-in-law that Hildebrandt 'followed Neidhardt', while clearly ruling out Lehman's scheme, is unclear in some other ways since some of Neidhardt's ideas about tempered tuning changed over the years